SJA

it's of note that both Derek Forbes and Jamie Stewart (also JJ Burnel and Macca) were originally guitarists- and weren't satisfied with just plodding away in the background on bass.

[quote name='ahpook' post='287944' date='Sep 20 2008, 12:34 PM']the newer one must be an improvement...the soundlab is the quietest psu i've got...a [i]lot[/i] guieter than my switched-mode thinger. what chip did you upgrade to ?[/quote] LM317T

[quote name='walplayer' post='292667' date='Sep 26 2008, 12:39 PM']I seem to remember he had another technique where he'd do funk style pull offs while playing with with a pick in his other fingers.[/quote] yeah, that's in "the American" and others on Sons & Fascination. Jamie Stewart of the Cult also used that eg. Ressurection Joe, Go West, God's zoo.

[quote name='noelk27' post='292373' date='Sep 26 2008, 02:19 AM']Of course, Sparkle In The Rain era Minds, people always name check Waterfront, and the pulse bass part. But that song wouldn't be has the song it is if you took the other parts Forbes is playing out of the mix.[/quote] it's worth checking out the extended mix versions of Waterfront and Up on the Catwalk as you can hear the overdubbed fretted & fretless basslines isolated- Steve Lillywhite encouraged him to overdub extra bass parts with different basses. the final instrumental Shake off the ghosts is almost entirely bass parts.

ps. I posted on his band's forum [url="http://afewgoodmen.myfreeforum.org/"]http://afewgoodmen.myfreeforum.org/[/url] about "Stay visible" on Simple Minds 2005 album Black & white sounding a lot like his style- and he replied that it actually was him- an uncredited "ghost" appearance...

I think it was an ego clash with Jim Kerr that got him sacked. on the Dreamgiver site there are various interviews archived- [url="http://www.simple-minds.demon.co.uk/index2.htm"]http://www.simple-minds.demon.co.uk/index2.htm[/url] “Looking back, there was a sacking of one guy that was harsh,” Jim reflects. “Probably something stupid like he had a better-looking girlfriend than everyone else. I feel bad about that."

here he is on youtube playing I travel and colours fly & catherine wheel- [url="http://www.youtube.com/watch?v=yZs_l9hF8IY"]http://www.youtube.com/watch?v=yZs_l9hF8IY[/url] [url="http://www.youtube.com/watch?v=FX0eJkGmYUw"]http://www.youtube.com/watch?v=FX0eJkGmYUw[/url] watching the Newcastle 1982 show on the Simple Minds "seen the lights" DVD was an education- fingerstyle, pick and slap all in just a few songs.

looks like an illegal chinese special, that they seem to have mixed up the decals on, or they just didn't have Musicman decals....

nice idea, but i can see one drawback- having the pickups joined together like that might affect how they adjust, unless the wood plate between them is flexible. eg. you wouldn't be able to lower the bridge pickup on the bass side without lowering the neck pickup too and vice versa.

actually, at least the necks are the right way round- guitar on top, unlike most 4 + 6 doublenecks.

[url="http://www.krappyguitars.com/punkbass.html"]http://www.krappyguitars.com/punkbass.html[/url]

I've got the previous version of the Maplin power bank which had a different case, but the exact same spec. it was a bit noisy- I changed the regulator chip in mine which reduced the noise a bit.

"Action is very high" uh-oh.... probably feels like playing an egg slicer.

IIRC in Suicidal Tendencies "asleep at the wheel" video he played a solo on a Tobias 6 string.

on the Ozzy Osbourne Budokan live DVD he used a couple of Tobias 5's -inc. the red one with soapbar routs but with J pickups in them. I think his tone (not really to my liking) comes from having a very low action so he can play lightly and fast, which doesn't give much definition to each note. (although that approach seems to work for Steve Harris- maybe a P pickup (and heavy strings) works better in this context)

tough crowd

[quote name='Delberthot' post='284488' date='Sep 15 2008, 07:55 PM']I have them both set exactly the same as well with both volume and tone controls fully on. I'm actually contemplating wiring the pickup directly to the jack.[/quote] on my warmoth I used a push-pull vol pot for controls bypass- I wired it so the vol + tone controls work with the pot up, and bypass in the default down position.

the G bass 5 interests me - 2 pickups, and the 35in scale is more useful for the low B. not keen on the colour though. [url="http://cgi.ebay.co.uk/Peavey-G-V-Bass-with-Graphite-Neck_W0QQitemZ190251547031QQcmdZViewItem?hash=item190251547031&_trkparms=72%3A12%7C39%3A1%7C66%3A2%7C65%3A12%7C240%3A1318&_trksid=p3286.c0.m14"]http://cgi.ebay.co.uk/Peavey-G-V-Bass-with...id=p3286.c0.m14[/url]

I was wondering why there's no date for london....then I remembered that there's no suitable venue for it anymore- no Bass Centre, no Soundcontrol...

it'll clash if the guitarist is playing an E note at the bottom of the chord, or if he's got too much low end in his sound (or if the room's acoustics emphasise that area), as the fundamentals of the flat fifth of Bb/A# against E will be dissonant.

I think the Bb is fine- that's how I used to play it. check if the guitarist's playing the riff right if it's clashing. Coxon's a bit clever with his voicings.

if the Kramer & Travis Bean aluminium guitars didn't stay in tune well, I wonder what that's like? it's probably like playing a bimetallic strip.

[url="http://uk.yamaha.com/en/news_events/artists/2008/lomenzo/"]http://uk.yamaha.com/en/news_events/artists/2008/lomenzo/[/url]

is your gold one 20 frets like this, and also a Gotoh 201? I had a bit of trouble on my Warmoth with the top 21st fret (on the fingerboard overhang) buzzing, so had to file it down slightly.

RHCP's Californication sounds awful to my ears, but I'm unsure where the problem lies- over-compression/loudness maximising etc. at the mixing stage or the mastering stage, and/or just a lousy mix to start with- which would suggest Rubin doesn't even know what makes a good mix. I read an old interview with Chuck Prophet (guitarist with Green On Red) where he recounted the false start recording his solo album "with a famous producer credited with Blondie and the Ramones" who was suggested by the record label, and finding that the guy was clueless, and embarassed to be found out as such. that would be Craig Leon. the singer/songwriter whose band I played in last year did an album with Craig Leon producing, and he (CL) was less than complimentary about his experience working with Ian McNabb. sounds like severe personality/ego clashes in both cases. also there's an amusing interview with XTC's Andy Partridge about his attempts at producing Blur- [url="http://www.mp3.com/news/stories/7768.html"]http://www.mp3.com/news/stories/7768.html[/url] which sheds some light into the role of the producer in band ego management, and mediating between the band and the label. (programmed drums on Blur's albums with Stephen Street?!) "I don't actually like producing people now because I think it's more about being a social worker than anything to do with music."